A lively evening's entertainment with live live music, digital interference and a post show discussion so you can tell us what you think afterwards.

Blur 1 & Blur 2 ( 3D Projection Installations)

Outisde - Theatre in the Mill, Inside - Gallery II, University of Bradford

Experience two projection events, which explore the blur between our changing physical and digital landscapes. Rooftop walkers, people trapped in windows, someone ready to jump appear on walls inside and out.

By Jez Coram

Sorry (extract from the play)

Alina spends her time alone in her london flat, obsessively developing new technology. Her life is suddenly turned upside down when she is visited by strange lights and sounds. As she tries to understand what it means she finds herself communicating with another dimension and being pulled depper and depper into someone else's secret past.

Whispers (extract from the play)

A mother and son are separated by war. Neither knows if the other is dead or alive. In the frozen Norwegian wilderness they battle the elements, to outsmart the enemy, survive the winter and cling to the hope that they will one day be reunited.

By Elise Rohde Hanssen

New Britain (rehearsed reading)

Imagine a New Britain where the police state has been overthrown by the Criminal World. There is chaos and trouble on every street in every area. Five peole find themselves thrown together and the stakes are high. Their lives depend on each other, but who can be trusted?

By Shaida Chaudhury

Blur 2 projection installation by Jez Coram will be at Gallery II, University of Bradford from 11am to 7pm on 8th and 9th March. See the installation them come down to the show.

Jez-freedomstudios.co.uk

Buy tickets

The narrative was informed by the experiences and personal stories of immigrants to Bradford and the indigenous population who worked in the textile mills from 1945 to present day.

The histories of immigrants and their movements have contributed to the rich ethnic diversity and vitality of Bradford. These histories are important in order to understand the roots of the community in the present for future generations and to strengthen feeling of identity and self - esteem.

www.themill-cityofdreams.com

We asked the audience 3 open questions and 3 closed questions. The results for the closed questions are given below. For charts of results, please click here for a downloadable PDF document.

Closed Question 1: Do you think this play has potential and should be developed further?

Options: Yes, No, Not Sure.

Answer: Yes
45 Minutes from Here - 78%
Licence to Conceive - 76%
And Pigs Might Fly - 69%
Nine Night - 66%
The Povo Die Till Freedom Come - 64%
Shelter - 58%
Paper Queen - 39%
From This Day Forward - 37%

Closed Question 2: Would you pay to watch a full length play by this person?

Options: Yes, No, Not Sure.

Answer: Yes
Licence to Conceive - 73%
45 Minutes from Here - 69%
And Pigs Might Fly - 63%
The Povo Die Till Freedom Come - 56%
Shelter - 50%
Nine Night - 50%
Paper Queen - 37%
From This Day Forward - 32%

Closed Question 3: How would you rate the experience of this play?

Answer: Excellent
45 Minutes from Here - 48%
Licence to Conceive - 46%
And Pigs Might Fly - 37%
Shelter - 25%
The Povo Die Till Freedom Come - 24%
Nine Night - 21%
Paper Queen - 14%
From This Day Forward - 11%

FURTHER NOTES ON HOW THE COMMISSION CAME ABOUT

Freedom Studios is a relatively young company, based in Bradford, West Yorkshire and supported by the Arts Council of England as a Regularity Funded Organisation. Led By Artistic Director Madani Younis, the body of work produced  by the company to date has been focused on the creation of original plays presented within theatrical contexts. This strategy of presenting work in theatrical contexts allows the company to make connections with Producers/ Programmers/ Curators/ Commissioners and share the true breadth of our artistic vision.  The company’s strong network of Associate Artists who work across art forms inform the shared vision of the company in confronting theatrical and creative vernacular by challenging notions of form. The Sheffield Crucible Commission represents a significant milestone for Freedom Studios in demonstrating the company’s vision, and ability to use its creative processes to produce high quality evocative work across art forms.

WHY LEYLA?

The sum of experiences from relationships, the essence of which has been distilled in Leyla. 
The voices that are heard through Leyla are the real life accounts of love and love lost as told by members of staff at the Crucible Theatre. 
Leyla was conceived as a sculpture that would take an ordinary experience and allow for a moment of beautiful story telling to be shared with those that come to interact with it.
The name Leyla is a small homage to Layla Majnun the classic 7th Century story from the northern Arabian Peninsula of star crossed lovers. 

WHY

WAVE AFTER HOKUSAI?

An expression of my relationship to the world around me: fearless, provocative, vulnerable and honest. 
Wave after Hokusai my conversation with  Katushika Hokusai’s iconic wood cuts of the Great Wave off Kanagawa, created during the 1820s. 
Wave after Hokusai was conceived as a sculpture that would allow audiences to feel enveloped by the still, powerful forces created by nature.

WHY WOOD?

With an elegant and proud architectural language running through The Crucible I was keen to create two moments in the building that would sit patiently and elegantly against its prevailing aesthetic. Wood, a living breathing material has always had an ability to tell a story for me, to be carved and affected to express the hidden vulnerable truth.